海南岛地理空间的独立性，使得生活在那里的黎族至今保存有远古手工艺的形态。本文以黎族传统手工艺为研究对象，并围绕其手工艺的文化特质，用艺术学以及设计学的视角，去审视黎族传统工艺的发生机制、艺术与技术的关系；同时用文化人类学的视角，去阐释传统手工艺对于黎族人日常生活的文化意义。试图在黎族远古手工艺的遗存中，窥见人类早期的工艺技术现象与工艺文化风貌。本文视手工艺为一种文化行为，通过对黎族手工艺的田野调查，并与相关历史文献结合，将手工艺置入社会生活与民俗事象中，进行自然结构、社会结构和符号结构等方面的文化解读。首先，分析了黎族历史与农耕生活中有关工艺造物的技术现象。其次，从手工艺的文化生态、工艺劳作制度与传承机制等方面剖析黎族手工艺所处的社会环境。再次，运用“身体技术”理论分析了手工技艺与身体的关系，并用身份的视角去探寻手工艺对族群认同的表述。最后，探讨了习俗礼仪对黎族手工艺实践的影响，分析了手工艺的审美因素，以及信仰、艺术、技术三者之间的互动关系。研究发现，黎族手工艺的原始特征遗存至今，是由于自然环境与观念、社会形态、劳作制度和技术特性综合作用的结果。封闭的地理环境造就因地制宜、因材施艺自然观；工艺技术的简单性，使身体作为工具的程度高，导致职业分化难现。加之半农半工的劳作模式，手工业在黎族长期不能形成，手工艺也处于初级水平；物物交换与贸易网络的缺失亦是影响黎族手工业形成的因素。虽然如此，但联姻关系成为工艺技术流动并传承至今的重要社会因素。本文认为，手工艺的符号性成为黎族族群认同的表征，但没能体现社会身份等级。黎族手工艺缺乏官作工艺的人伦物序，这与黎族扁平化的社会形态密不可分。本文还认为，黎族手工艺品创制之初都是基于功利性，或为实用或为原始信仰，原始信仰则出于趋利避害的初衷。因此，工艺的审美不过是后来人的一种建构。此外，工艺的进步主要是技术的进步，艺术并没有进步落后之分。对比黎族手工艺可知，工艺技术的发展是阶梯式上升，艺术的发展是伴随间断高峰出现的水平式持续。黎族手工艺也体现出生活化的本质，在“非遗”保护如火如荼的今天，生产性保护与生活化传承需并重。

Hainan Island is geographically independent, which helps the preservation of ancient handicraft of Li people. This article takes the traditional handicrafts of Li nationality as the research object and focuses on the cultural characteristics of handicrafts. On one hand, from the perspective of art and design, the author examined the mechanism of the traditional arts and crafts and the relationship between art and technology; On the other hand, from the perspective of cultural anthropology, the author also explained the cultural significance of traditional handicrafts to the daily life of Li people. From the remains of ancient handicraft in Li nationality, the author tried to understand the technological phenomena and craft culture of the early stage of mankind.in this research , handicraft is regarded as a kind of cultural behavior, and the fieldwork data of Li nationality handicraft and historical literature are combined, The author puts handicraft into social life and folk custom, and culturally interpret the natural structure, social structure and symbol structure. First, the paper analyzes the material life forms and technological phenomena of the craft in the history and farming life of Li nationality. Secondly, it analyzes the social environment of Li handicrafts from the aspects of the cultural ecology of handicrafts, the process labor system and the inheritance mechanism respectively. Thirdly, using“body technique”theory, the relationship between handicraft technology and body is analyzed, and studying the influence of handicraft on ethnic identity using the theory of identity . Finally, from the spiritual level, the author explores the impact of custom and etiquette on the handicraft practice of Li nationality. This paper analyzes the interaction between the three aspects of aesthetic creation, belief, art and technology in Li handicrafts.It is found that the original features of the handicraft in Li Dynasty are still the result of the combination of natural ideas, social patterns, labor systems and technical features. The isolated geographical environment results in unique local conditionsand different nature of art; The underdeveloped technology leads to unclear occupational differentiation. In addition, because of the semi industrial work mode, handicraft industry in Li has not been formed, handicrafts is still in primary level; The simple exchange of craft goods and the absence of trade network are also the factors that influence the formation of Li handicraft industry. Nevertheless, the marriage alliance has become an important social factor in the process of technology flow and inheritance.This article holds that the symbolism of handicraft has become a representation of the identity of Li group, but it cannot represent the social status. The handicraft in Li nationality lacks the rank in social status , which is due to the simple social form of Li nationality. This author also believes that Li handicrafts began to be made for the sake of utility, that is, for practical purposes or for primitive beliefs, but these primitive beliefs are for the sake of avoiding disadvantages. Therefore, the aesthetic of craft is only a construction of later generation. In addition, the evolution from ancient art to modern technology is mainly the progress of technology. Art has no progress or backwardness. Comparing Li handicrafts, we can see that the development of Arts and crafts is develoing as a ladder, and the development of art and aesthetics is the same as that of the level. Finally, the Li handicraft reflects the occurrence and development of the handicraft. It is related to the existence and the life of human beings, and the essence of handicraft is life oriented. Today, attention has been paid to the protection of intangible cultural heritage, and productive protection is just as important as living heritage.